Michael Ian Cummings, former lead singer and songwriter of SKATERS, released his debut solo EP Oldest Troubles. The indie rock record is made up of five tracks where Cummings reflects on his own past experiences in a skillful way, as the listener is able to feel connected to each of his songs.
Oldest Troubles comes after Cummings took a six year hiatus from music. When Warner Brothers Records dropped his band SKATERS, Cummings felt disillusioned with the industry. He was left in the common place many musicians find themselves when the band life stops and needed to unplug, reset, and find his inspiration once again. Now, Cummings found that inspiration again. He also described making the album as “cathartic.”
“This was 100% for me to regain my balance in making and releasing music,” Cummings said in an interview. “And part of that was not doing things I didn’t feel good about in my gut. And whether that was a choice, like re-recording something so it sounds pristine, or keeping the live take, keeping the fucked up guitar that might be out of tune because it just felt better.”
His attitude paid off. While it may have been more for Cummings himself in how he recorded the EP, it also made the record better as a whole. In songs like “Contemporary Me,” the listener can feel more of his emotions because of how raw it sounds.
The title track, “Oldest Troubles,” reflects the melancholic feeling Cummings may have felt when writing and recording the song. The strings in the background only add to the beauty of the song, making it the most replay-able track on the record.
It was a night to celebrate 90s rock music on Sunday, as Counting Crows brought their Banshee Season Tour to CMAC on Sunday, July 2nd. The concert featured direct support from Dashboard Confessional.
It’s hard to believe it’s been 30 years since Counting Crows burst onto the music scene, releasing their multi-platinum debut album August and Everything After in 1993. The California natives have gone on to release seven more studio albums, along with numerous live albums.
Fronted by Adam Duritz (vocals), the band also features David Bryson (guitar), Charlie Gillingham (keyboards), Dan Vickery (guitar, pedal steel), David Immergluck (guitars), Jim Bogios (drugs) and Millard Powers (bass guitar). The band is touring in support of their latest release, Butter Miracle Suite One (2021).
Heavy showers swept across the concert facility minutes before gates opened on Sunday evening. This did not deter a passionate fan base from arriving early to take in opener Dashboard Confessional. Originally the solo-acoustic project of Chris Carrabba, it would morph into a full band in 2002, as Carrabba was asked to perform on MTV Unplugged. The added bandmates allowed Carrabba’s songwriting to take on new depths and sounds.
Just after 7:30, Carrabba and his band mates took to the stage, and were met with a heavy cheer from the audience. The band launched into the upbeat “Don’t Wait”, which delivered a call and echo vocals, to with the audience enthusiastically obliged. From there the band would perform “The Sharp Hint of New Tears”, a song from Carrabba’s 2000 debut release (with lyrics that showcase the origin of the band’s name). Once known for writing acoustic emo rock, with themes centering around heartbeat and loss, Carrabba and his mates delivered a 60 minute set, spanning the band’s twenty year catalog and was filled with songs of hope and self-triumph. The band would close out their set with perhaps their biggest hit, the high energy “Hands Down”, which saw his band mates jumping and leaping around the stage.
As the 9pm hour approached, a pedal steel guitar was wheeled to stage left. Moments later, the house lights would dim and Duritz and his bandmates took to the stage. A lone spotlight illuminated guitarist Dan Vickery as he began to pluck the hauntingly familiar guitar riff to “Round Here”, one of the band’s most well known songs. Additional lights would slowly illuminate the remaining members of the band as Duritz moved to the center of the stage to start delivering his poetic lyrics, at times acting out key moments in the song. As the song built on energy and emotion, the audience became engaged, belting out lyrics. The band continued to build on the energy and emotion, following up with the upbeat “Hard Candy” and then the familiar “Mr. Jones”.
While the band’s set would lean heavily on music from their early years, Duritz didn’t hide his excitement when they would perform tracks of the band’s latest two releases. Tracks like “God of Ocean Tides” and “The Tall Grass” hit home with the audience as well as the band’s early hits. The later portion of the band’s set saw them perform their latest release Butter Miracle Suite One in entirety. They would conclude the main set with the familiar classic “Long December” which saw the grounds illuminate with cell phone lights and erupted into an audience sing along.
Crowd pleas for an encore would be obliged by the band, as they would return to the stage and deliver a four song encore. Returning to the stage with “Time and Time Again,” a beautiful track of their debut release, Duritz’s voice proved to be strong as ever, as the chorus echoed through out the center. Chris Carrabba and his band would join the Counting Crows for the next piece of the encore, Dashboard Confessional’s 2006 hit “So Long, So Long” which saw Duritz provide a guest vocal appearance on the studio recording. Carrabba would return the vocal favor on the next song, trading lyrics with Duritz on the hit “Hangin’ Around”. Fans flocked to the aisles to sing and dance along, as Carrabba and Duritz bounced around the stage, singing and triumphantly trading high-fives with fans.
Counting Crows ‘Banshee Season’ Tour – CMAC, Canandaigua, NY – July 2, 2023
Setlist: Round Here, Hard Candy, Mr. Jones, Colorblind, Butterfly in Reverse, Omaha, Catapult, God of Ocean Tides, Friend of the Devil, Goodnight Elisabeth / Pale Blue Eyes, The Tall Grass, Elevator Boots, Angel of 14th Street, Bobby and the Rat-Kings, Rain King, A Long December
Encore: Time & Time Again, So Long, so long, Hanginaround, Holiday in Spain
On June 14th, Dave Matthews Band took the stage at Darien Lake, delivering an electrifying performance that left the crowd buzzing.
From the energetic opener “When the World Ends” to the soulful encore of “You Never Know” and “Shake Me Like a Monkey,” the band captivated the audience with their musical prowess and heartfelt lyrics. One of the highlights of the night was a fantastic version of “Don’t Drink the Water.” The song featured a weird and exploratory intro, which sounded similar to something you’d hear at a Phish show. As the venue is close a Native American reservation, the song about the slaughter and colonization of the Native Americans was extremely poignant.
As it often is, “Lie In Our Graves” was the standout of the night. Probably the longest song of the night, they stretched out the classic and the Darien Lake crowd loved it. The night was heavy with new songs from their recently released album, 2023’s Walk on the Moon, but it was also sprinkled with some deeper cuts to keep everyone happy.
From the infectious energy of their opening song to the soul-stirring encore, the band showcased their exceptional musicianship and their ability to create an unforgettable live experience.
Dave Matthews Band – Darien Lake, Darien Center, NY – June 14th 2023
Setlist: When the World Ends, Stay or Leave,Funny the Way It Is, All You Wanted Was Tomorrow, Madman’s Eyes, So Damn Lucky, Busted Stuff, Grey Street, Looking for a Vein, Don’t Drink the Water, The Space Between, Lie in Our Graves, Walk Around the Moon, Louisiana Bayou, Break Free, You Might Die Trying, Jimi Thing, Brick House (Commodores cover)
Rock & Roll Hall of Fame inductees The Zombies will perform in Adler Hall at New York Society for Ethical Culture in NYC on October 27. The stop comes as the group celebrates their long awaited album Different Game which was released earlier this year.
Tom Toomey
The Zombies are one of the most iconic bands in Rock & Roll history. The group came together in 1961 and grew in large part because of their role in the British Invasion. The Zombies have fostered a massive fan base throughout the years due to their unmistakable melodies, breathy vocals, and elegant harmonies.
In 1967 the band found worldwide success after their song “Time of the Season” reached #3 on the Billboard charts. The song would go onto be one of the most recognizable tracks of the 60s. It has since appeared throughout pop-culture, featuring in hit TV shows like “Friends” and “NCIS”.
Rod Argent
Rolling Stone has named The Zombies’ 1968 album Odyssey and Oracle to the “Greatest Albums of All Time” list twice. In total the band has released nine albums and has established itself as one of the most influential groups in music.
For tickets and more information about the show in Adler Hall click here.
Different Game Tour (North America)
Oct, 1 – New Westminster, BC – Massey Theatre
Oct, 2 – Seattle, WA – Washington Hall
Oct, 3 – Portland, OR – Aladdin Theater
Oct, 5 – San Francisco, CA – Palace of Fine Arts
Oct, 6 – Glendale, CA – Alex Theatre
Oct, 7 – Solana Beach, CA – Belly Up Tavern
Oct, 9 – Santa Fe, NM – Lensic Performing Arts Center
Oct, 11 – Boulder, CO – Boulder Theater
Oct, 13 – St. Paul, MN – Fitzgerald Theater
Oct, 14 – Milwaukee, WI – South Milwaukee PAC
Oct, 15 – Chicago, IL – Old Town School of Folk Music
Oct, 17 – Toronto, ON – Queen Elizabeth Theatre
Oct, 18 – Royal Oak, MI – Royal Oak Music Theatre
Oct, 19 – Nashville, IN – Brown County Music Center
Oct, 20 – Cincinnati, OH – Ludlow Garage
Oct, 22 – Northfield, OH – MGM Northfield Park
Oct, 24 – Alexandria, VA – The Birchmere
Oct, 26 – Beverly, MA – The Cabot
Oct, 27 – New York, NY – Adler Hall at the NY Society of Ethical Culture
CREEM Entertainment, celebrating the one-year anniversary of its relaunch and its Summer 2023 edition, has announced the first annual Summer Sunburn, an “all-day rock party” in Brooklyn. Summer Sunburn on July 22 will include: Nothing; Radioactivity, this being their first NYC appearance in five years; Godcaster; Loosey; Jobber; as well as DJ Edan and CREEM writer Hether Fortune playing between acts.
Brought back after 33 years of absence, CREEM Entertainment is the modern reincarnation of Detroit’s famous CREEM Magazine, originally founded in 1969, and grew to be a staple of music journalism for twenty years.
The magazine helped cultivate the talent of people such as Lester Bangs, Cameron Crowe, Patti Smith, Robert Christgau and Jaan Uhelszki (who returned as Editorial Director). In 2020, the magazine’s rise and fall was chronicled in the documentary “CREEM: America’s Only Rock ‘n’ Roll Magazine.”
We’re now a year into this journey of proving that BOTH rock and print aren’t dead so now’s the time to crack open a coldie and celebrate with the sickest lineup we could imagine!
CREEM’s Vice President of Content Fred Pessaro
CREEM Entertainment still covers the classics, bands like The Who, Peter Frampton, or Metallica, but also the new faces to the genre and those that they missed in their 33 years of hiatus. It is led by former VICE publisher John Martin as CEO, and Chairman J.J. Kramer, who is the son of original co-founder and publisher Barry Kramer.
Taking place in Roberta’s backyard in Brooklyn, NY on July 22, the celebration will run from 2:00 to 10:00 p.m., with music, food, and drinks available. Summer Sunburn will continue CREEM’s partnership with Slane Irish Whiskey. Tickets are available on CREEM’s website, here.
The View Center For Arts and Culture in Old Forge has been attracting visitors to the Adirondacks since it was founded in 1951. This summer, the organization has once again put together a diverse and enticing set of summer performances.
The View Center’s free “Concerts in the Courtyard Series” is one of the various programs and events that attendees can enjoy during the summer months. Now in its fourth season, the series is focused on highlighting local and regional artists. Concerts are scheduled for every Wednesday from June 28 to August 3. The performances will run from 5 PM to 6:30 PM and will take place at the View Center courtyard.
As part of its mission, the View Center aims to continuously explore and exhibit the ever-changing nature of art. This year’s series bolsters a variety of different artists from a wide array of genres. Concert-goers will be able to enjoy folk, rock, pop, blues and jazz offerings.
In addition to the free concert series, there will also be a handful of paid performances by several talented musicians. Pianist Ben Cosgrove will perform at the first of these events scheduled for July 2.
Ben Cosgrove
Along with the plethora of live music events this summer, the View Center also exhibits and displays impactful visual art. The View Center acts as a community space, dedicated to being an inspiring artistic force in the area. The organization offers numerous classes and opportunities for those in the surrounding area in an attempt to excite the next generation of artists.
Original members of Talking Heads, Jerry Harrison & Adrian Belew, along with Cool Cool Cool played an incredible show at the Capitol Theatre on Sunday, June 25, filled with Talking Heads favorites on a tour highlighting Remain in Light. Cool Cool Cool performed a set of original music before accompanying Jerry & Adrian for a set of Talking Heads songs.
Cool Cool Cool started the night off with some original songs which proved to be tight and groovy. Leading the way on vocals were Shira Elias & Sammi Garett, who provided a very upbeat and fun feel. They had great stage presence and crowd control. Notably this horns section is always incredibly tight and spectacular, it consists of Chris Brouwers, Greg Sanderson, & Josh Schwartz who also took lead vocals on a few songs.
The band opened up with “Psycho Killer” which sent the place dancing. The set included fan favorites such as “Crosseyed & Painless,” “Cities,” “Once in a Lifetime,” and concluded with “Take Me To The River.” The show was high energy filled with masterful musicianship and highly psychedelic peaks in true Talking Heads Style.
The audience applauded, begging for more. The band returned to play an incredible encore which included “Drugs” & “The Great Curve.” This was the last stop of an lengthy tour which spanned many “Cities” and was truly “Once in a Lifetime”.
Setlist: Psycho Killer, Crosseyed & Painless, Houses in Motion, I Zimbra, Borna Under Punches, Cities, Rev It Up, Slippery People, Thela Hun Ginjeet, Once in a Lifetime, Life During Wartime, Take Me to the River
(Le) Poisson Rouge will present a four-night residency with New York City-based powerhouse experimental music band City of the Sun, starting on June 28.
For over 10 years, City of the Sun has been flipping the perception of what instrumental music is, attracting a new generation to the genre. Formed in 2011 by guitarist John Pita and percussionist Zach Para, the band takes influence from genres like American folk, indie rock, blues, and flamenco, creating an otherworldly and cinematic experience.
City of the Sun has been established as a powerhouse group in the post-rock sphere. Their UNTITLED EP in 2018 featured the critically acclaimed track “Perfect Instance,” leading them to release their self-titled album, also to huge praise. Their newest album Segunda Alma sees the group expanding on their experimental roots, mixing in organic house elements and other arrangements.
Additional dates for the City of the Sun residency at (Le) Poisson Rouge) include July 11, August 9 and September 12. Tickets and information can be found here.
The Flaming Lips delivered an unforgettable performance at the Agora Theatre in Cleveland on June 11. With two mesmerizing sets, they took the audience on a journey filled with nostalgia, energy, and musical brilliance. Wayne Coyne serves as the bands psychedelic ringmaster, constantly pulling things out of his bag of tricks or egging the crowd on to be as silly and to have as much fun as possible. The Flaming Lips treat every concert like it’s the last one on Earth, because you never know, it could be.
In their first set of the night, The Flaming Lips paid homage to their iconic album Yoshimi Battles the Pink Robots by performing it in its entirety. The crowd was immersed in a sonic adventure, as the band flawlessly captured the essence of the album’s whimsical melodies and thought-provoking lyrics. Accompanied by mesmerizing visuals, their performance breathed new life into the beloved tracks, evoking a wave of both nostalgia and renewed appreciation.
As the night drew to a close, The Flaming Lips left the stage, but their impact lingered in the hearts and minds of everyone present. Their two-set performance was a testament to their artistic vision, their ability to captivate and transcend boundaries, and their unwavering commitment to creating a transformative live experience. The Flaming Lips once again solidified their status as masters of their craft, leaving the audience with an insatiable craving for more of their musical magic.
Set 1: Fight Test, One More Robot/Sympathy 3000-21, Yoshimi Battles the Pink Robots, Pt. 1, Yoshimi Battles the Pink Robots, Pt. 2, In the Morning of the Magicians, Ego Tripping at the Gates of Hell, Are You a Hypnotist??, It’s Summertime, Do You Realize??, All We Have Is Now, Approaching Pavonis Mons by Balloon (Utopia Planitia)
Set 2: Sagittarius Silver Announcement, She Don’t Use Jelly, Mother I’ve Taken LSD, How??, Always There, In Our Hearts, Feeling Yourself Disintegrate, Assassins of Youth, Will You Return / When You Come Down, Borderline(Madonna), Pompeii Am Götterdämmerung
Encore: My Cosmic Autumn Rebellion, A Spoonful Weighs a Ton, Race for the Prize
The definitive band of the gothic rock genre – The Cure – swept through Midtown Manhattan this past week for a three-date residency at Madison Square Garden (MSG).
Selling out arena after arena on the North American leg of their Songs of a Lost World Tour, a 34-date affair that the band embarked on in New Orleans, Louisiana back on May 10, The Cure have long since secured their legacy due to being one of the first alternative bands to break into the mainstream well over four decades ago. And as luck would have it, I found myself fortunate to provide coverage of The Cure’s second show in The Big Apple this past Wednesday evening, June 21.
Robert Smith of The Cure | Photo: Michael Dinger
The only constant member throughout the band’s storied history that began in West Sussex, England in 1978, frontman Robert Smith has been teasing since March of last year that new material, the first since their 13th studio album (4:13 Dream) was released nearly fifteen years ago, is on its way. Although fans of The Cure are still waiting for a 14th release from their beloved post-punkers, they are certainly satisfied with the progress Smith has been forging on a different front. Outspoken against Ticketmaster and their dynamic pricing model that has ticket prices fluctuating based on demand, and often to exorbitant levels, Smith fought back and guaranteed that for The Cure’s tour, tickets were only allowed to be resold at face value. And in an unprecedented response to the good fight that Smith fought for his fans, Ticketmaster issued partial refunds in mid-March to ticket holders for shows by The Cure to lessen the burden of add-on fees. Even The Cure’s tour merch was affordable, with t-shirts selling for only $25!
Madison Square Garden | Photo: Michael Dinger
Accompanying The Cure on all their US and Canadian dates are The Twilight Sad, a post-punk/indie rock quintet formed just outside of Glasgow, Scotland by vocalist James Graham and guitarist Andy MacFarlane as high school friends in 2003. The Twilight Sad and The Cure are no strangers to one another, as Smith handpicked the Scottish outfit to support The Cure back in 2016, which also included three shows at Madison Square Garden. The Twilight Sad are rounded out by Johnny Docherty (bass), Grant Hutchison (drums) and Brendan Smith (keyboards).
James Graham of The Twilight Sad | Photo: Michael Dinger
The 40-minute set kicked-off sharply at 8:00 pm with intensely thumping bass, before giving way to driving guitar, and eventually Hutchison’s pounding drums that introduced “Kill It in the Morning,” taken from their third studio album (No One Can Ever Know, 2012). At the song’s conclusion, Graham genuinely thanked the audience for being there and explained how it was such an honor for a “small band from a small town in Scotland” to be playing The Garden in New York City.
With flashing strobes offering short glimpses of each band member in otherwise green, red and blue lighting, I was immediately taken aback by the intensity of their performance, particularly that of Graham. As the band delivered “Let’s Get Lost” and “VTr,” two tracks from their most recent studio album It Won’t Be Like This All the Time released in 2019, and fifth overall, I was transfixed by his stage persona. Particularly fascinated by Graham’s sharp gesticulating and bizarre mannerisms, as if he were possessed at times, I knew then what it must have been like to have witnessed Ian Curtis (Joy Division) perform live in the late-1970s.
Andy MacFarlane of The Twilight Sad | Photo: Michael Dinger
The Twilight Sad’s emblematic depth and darkness, incorporating goth despair and 90s industrial with catchy synth and grinding guitar, was prevalent for the duration of their 8-song set. Although I was unfamiliar with The Twilight Sad before tonight, it was not very difficult to get swept up by the emotional highs and melancholic lows that songs like “That Summer, at Home I Had Become the Invisible Boy” – the band’s very first single from 2007 and a nod to the film Stand by Me – and 2014’s “There’s a Girl in the Corner” could transport a listener to. As their newest fan, I cannot wait to see what these Scottish lads have in store for us during the remainder of 2023, and beyond.
While only a recent fan of The Twilight Sad, I have been listening to The Cure since I was 14-year old boy growing up in coastal Connecticut. I do not remember exactly who introduced me to this band at the forefront of the new wave movement in 1986, but I still have a copy of one of the first compact discs that I ever bought, Staring at the Sea, a greatest hits compilation of singles that marked a decade since the band was founded, and a magnificent sampling of ‘The Cure sound’ that I continue to love 37 years later.
Robert Smith of The Cure | Photo: Michael Dinger
At approximately 9:15 pm, with the sound of rain and thunder playing over the house PA suddenly ceasing, the moment had arrived! One by one, the members of The Cure entered from stage left. The first was Jason Cooper who took to his stool behind the kit on an elevated riser at center stage. He was quickly followed by Reeves Gabrels (guitar), Roger O’Donnell (keyboards) and Perry Bamonte (guitar, keyboards) who assumed their respective positions as fans were going wild with excitement. Simon Gallup, a member of the band for all but three years of their history, strapped on his custom Schecter Ultra Spitfire bass as the entire arena held its collective breath until finally, Smith appeared from the dark shadows at the side of the stage.
Simon Gallup of The Cure | Photo: Michael DingerReeves Gabrels of The Cure | Photo: Michael Dinger
Clad in all black and donning a t-shirt depicting the famous Marilyn Monroe scene from the 1955 Billy Wilder film The Seven Year Itch, Smith wore his signature smeared red lipstick and black eyeliner as he internalized the grand spectacle that lie in front of him. For several moments, as his bandmates commenced the instrumental introduction to “Alone,” a new song that will be included on their yet to be released Songs Of The Lost World, Smith slowly walked from one end of the stage to the other, and back again. With clasped hands, he frequently paused at the edge of the stage apron as he gazed longingly into the upper levels of The Garden, a grateful expression across his face for the outpouring of support raining down on him.
Jason Cooper of The Cure | Photo: Michael DingerRoger O’Donnell of The Cure | Photo: Michael DingerPerry Bamonte of The Cure | Photo: Michael Dinger
With everyone in the house standing, classic tune after classic tune would be the overriding theme of the evening. 1989’s Disintegration made a particularly strong showing with prodigious renderings of “Pictures of You,” “Lovesong” and “Fascination Street.” The live staple “Burn,” a contribution by The Cure to The Crow’s 1994 motion picture soundtrack, featured Smith playing the penny whistle during the song’s intro. The main set was bookended with another newly recorded song from Songs Of The Lost World titled “Endsong.”
Beginning at 10:45 pm, the first of two glorious encores comprised of five songs ensued. Masters of the melodic and atmospheric, especially during their extended, trademark instrumental intros, “A Forest” closed the first encore, procured from their second studio album Seventeen Seconds released in 1980. Renowned for a catalog of introspective alternative hits that always make it into The Cure’s live agenda, the whopping nine song second encore did not disappoint, to say the least! As midnight approached on the first day of summer in Gotham, the 29-song marathon gig came to an end with a triple threat of the choicest songs – “In Between Days” (The Head on the Door, 1985), “Just Like Heaven” (Kiss Me, Kiss Me, Kiss Me, 1987) and “Boys Don’t Cry,” the title track from their first compilation released in 1980.
Madison Square Garden | Photo: Michael Dinger
Over the course of the following week, the 2019 Rock & Roll Hall Of Fame inductees’ trek across North America will continue through Pennsylvania, Maryland, Georgia and Florida, with the tour finale slated for July 1 at the Kaseya Center in Miami, Florida. After a much needed respite for the duration of the summer, the English rockers will be back on the road beginning this fall, with a headlining appearance at Riot Fest in Chicago, Illinois (September 17), followed by another headlining gig at Festival Corona Capital in Mexico City (November 19). Their calendar remains full with six additional shows slated for late-November and early-December that will take The Cure to Peru, Argentina, Uruguay, Chile, Brazil, Paraguay and Columbia. And hopefully, not before too long, fans of The Cure will be treated to their first new music since 2008 with the arrival of Songs Of The Lost World in the coming months.
The Twilight Sad Setlist: Kill It in the Morning > Let/s Get Lost > VTr > That Summer, at Home I Had Become the Invisible Boy > There’s a Girl in the Corner > I/m Not Here [missing face] > The Wrong Car > [10 Good Reasons for Modern Drugs]
The Cure Setlist: Alone > Pictures of You > A Fragile Thing > A Night Like This > Lovesong > And Nothing Is Forever > Like Cockatoos > Burn > If Only Tonight We Could Sleep > Charlotte Sometimes > Push > 39 > Fascination Street > From the Edge of the Deep Green Sea > Endsong > Encore 1: I Can Never Say Goodbye > Want > Shake Dog Shake > One Hundred Years > A Forest > Encore 2: Lullaby > The Walk > Friday I’m in Love > Doing the Unstuck > Close to Me > Why Can’t I Be You? > In Between Days > Just Like Heaven > Boys Don’t Cry
